buy this house from its last private possessor, Edward Moretus, in 1876.  To step across this threshold is to step directly into the merchant atmosphere of the sixteenth century.  The once great printing house of Plantin-Moretus was founded by the Frenchman, Christopher Plantin, who was born at St. Aventin, near Tours, in 1514, and began his business life as a book-binder at Rouen.  In 1549 he removed to Antwerp, and was there innocently involved one night in a riot in the streets, which resulted in an injury that incapacitated him for his former trade, and necessitated his turning to some new employment.  He now set up as printer, with remarkable success, and was a sufficiently important citizen at the date of his death, in 1589, to be buried in his own vault under a chapel in the Cathedral.  The business passed, on his decease, to his son-in-law, Jean Moertorf, who had married his daughter, Martine, in 1570, and had Latinized his surname to Moretus in accordance with the curious custom that prevailed among scholars of the sixteenth century.  Thus Servetus was really Miguel Servete, and Thomas Erastus was Thomas Lieber.  The foundation of the fortunes of the house was undoubtedly its monopoly—­analogous to that enjoyed by the English house of Spottiswoode, and by the two elder Universities—­of printing the liturgical works—­Missals, Antiphons, Psalters, Breviaries, etc.—­that were used throughout the Spanish dominions.  No attempt, however, seems to have been made in the later stages of the history of the house to adopt improved machinery, or to reconstruct the original, antiquated buildings.  The establishment, accordingly, when it was taken over by the city in 1876, retained virtually the same aspect as it had worn in the seventeenth century, and remains to the present day perhaps the best example in the world of an old-fashioned city business house of the honest time when merchant-princes were content to live above their office, instead of seeking solace in smug suburban villas.  The place has been preserved exactly as it stood, and even the present attendants are correctly clad in the sober brown garb of the servants of three hundred years since.  It is interesting, not only in itself, but as an excellent example of how business and high culture were successfully combined under the happier economic conditions of the seventeenth and eighteenth centuries.  The Plantin-Moretus family held a high position in the civic life of Antwerp, and mixed in the intellectual and artistic society for which Antwerp was famed in the seventeenth century—­ the Antwerp of Rubens (though not a native) and Van Dyck, of Jordaens, of the two Teniers, of Grayer, Zegers, and Snyders.  Printing, indeed, in those days was itself a fine art, and the glories of the house of Plantin-Moretus rivalled those of the later Chiswick Press, and of the goodly Chaucers edited in our own time by Professor Skeat, and printed by William Morris.  Proof-reading was then an erudite profession,